


In Good Company- Character Bios

by the_many_worlds_traveler



Category: Sanders Sides (Web Series)
Genre: Anxiety, Major Character Injury, Other
Language: English
Status: Completed
Published: 2019-08-23
Updated: 2019-08-23
Packaged: 2020-09-24 20:44:23
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 4,179
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/20364829
Author URL: https://archiveofourown.org/users/the_many_worlds_traveler/pseuds/the_many_worlds_traveler
Summary: First draft character bios for the Sanders Sides ballet company AU, In Good Company. Beware, there be mistakes and spelling errors about.





	In Good Company- Character Bios

**Author's Note:**

> Welcome to my first proper Sanders Sides ballet company au post! These are just the main character bios and cheat sheets for me as I work through the plot.  
TW: Talk of anxiety, injury, confidence. One curse word and implied innuendo.

# In Good Company

## Character Bios

Virgil Harris  
28  
Rank: Soloist  
Height: 5’9”  
Joined Civic Ballet in 2010; Promoted to First Soloist in 2018  
Favorite Role: Albrecht- Giselle

_Appearance:_ Lean and languid. Medium-length black hair. Fair-skinned, bordering on “by the gods, have you ever seen the sun?!”. Wears eye make-up casually, but can’t while dancing because it tends to melt. Dark brown eyes. Prefers loose-fitting black/dark tanks, black tights with a hoodie wrapped around his waist if its too hot to wear.

_Personality:_ Reserved, prefers observing people than socializing. Has a short temper he keeps well in-check in the presence of superiors and other dancers. Expert level snark. Struggles with anxiety and severe lack of confidence in his skills. Virgil is sensitive to physical touch and is prone to overthinking. He is terrified of missing his cues and fears rejection by his company (even after years of support and growth). He takes corrections very seriously (and occasionally a bit personally though his skin has gotten a lot tougher over the years). He works hard to ignore the constant anxious alarms in his head.

_Relationships:_

W/ Roman- He tolerates his bravado and secretly enjoys his company (though he would never admit it out loud). Considers Roman his closest friend and confidant and appreciates what he has done to help him recover.  
W/ Patton- He met Patton during the new costumer’s first fitting and was amazed at how gentle and warm his touch was (Patton gathered quickly that fittings were probably not his favorite activity by how he shrunk away from his hands. After a bit of assurance, Virgil softened up and allowed him to proceed. Now he is the only costumer he’ll willingly work with). They quickly became friends over a shared interest in poetry and sewing. Patton knows precisely how to bring Virgil down from panic, which means Virgil trusts him more than anyone else.  
W/ Logan- Virgil views Logan with a mix of trepidation and respect. He actively seeks to improve his skills by taking Logan’s notes and corrections very seriously through constant personal practice outside of rehearsal and class hours.  
W/ Thomas- Virgil often questions his vision, but ultimately respects his decisions. He feels he must work hard to fully earn his place in the company.  
W/ Dmitri (Deceit)- AVOID AT ALL COSTS. He hates that Roman is friends with this asshole and sees right through Dmitri’s charm.  
W/ Remus- He has a begrudging tolerance for his artistic vision. Generally not his biggest fan.

_Backstory:_  
He took up ballet on a dare in the 6th grade. After the first class, he was hooked. The structure provided him with an outlet to refocus himself and his anxiety and the artistry struck a chord with him (it felt a bit like “moving poetry”). His instructors saw a natural talent (not unusual in boys who start dance later than most) and guided him through his training. His parents hardly agreed with his choice of extracurricular, however it was keeping him out of trouble so they couldn’t complain (he had no problem receiving scholarships for his training from his eager studio director).

As he got older and grew into his skills, his confidence took a major hit when his first choice of summer intensive program in New York didn’t accept him. He continued to struggle with his anxiety when he was outed in front of his peers for being gay by a jealous fellow student. “He can’t even touch a girl without going into hysterics. How is he going to be a dancer if he can’t partner?!” He wanted nothing more than to quit dance and go into hiding, but his instructor refused to let him off the hook.  
They worked through private lessons, preparing him for competition season. His instructor knew that with his skills and mature artistry, he would succeed and hopefully boost his confidence. While Virgil hated being the center of attention, his scores were impressive and he took home the top prize at the Youth American Grand Prix two years in a row, which earned him an invitation to compete internationally.

A dark horse in the rankings, he was scouted by Thomas after attending the Prix de Lausanne competition in Switzerland. Though Virgil did not place higher than top 10, Thomas was impressed with his emotional depth and artistry in his movement. Virgil had no intention of competing initially and didn’t anticipate receiving job offers. Out of the multiple offers made, however, Virgil accepted a contract with Civic Ballet strictly because he got a comfortable vibe from Thomas when they spoke during the gala which he was forced to attend by his instructor.

Virgil’s time with the Civic Ballet has been a quiet one. He spent his first five years as corpse de ballet and was promoted to demi-soloist in 2015. In 2018 he was promoted to first soloist. Shortly into the run of La Bayadere dancing the lead male role of Solor, his first production at his new rank, he suffered a major injury that sidelined him for the rest of the season.

Due to his sensitivity to touch, he still struggles with partnering. Thomas has faith in his abilities and continues to move him up the ranks despite this. Roman takes it upon himself to practice with him and break him of his discomfort, often recruiting women from the company and academy to help (which was never hard as Virgil’s “mysterious” broody nature makes him quite popular with the ladies. Their attention towards him just makes him all the more uncomfortable).  
He spends his free time either in practice with Roman or, when Roman tires of his negative attitude for the day, by himself working on regaining his technique and strength. The pain from his injury was manageable, but the emotional damage was pretty well ingrained. On top of partnering, he now hesitates around jumps, fearing for a repeat performance of that fall he is absolutely certain will come. He is dutiful about his physical therapy and conditioning but worries his days with the company are numbered if he can’t get himself together and recover faster.

_Fun Facts:_

-He has a metal ankle :D  
-He prefers the dark and broody ballets of the romantic era and early-mid 20th century  
-Virgil wishes he could dye his hair (but company policy is strict)  
-He definitely owns a pet tarantula that Patton and Roman are terrified of. His name is Gerard.  
-He has an interest in modern dance and watches clips of Martha Graham ballets online to relax. He loves the stark, moody tones of the movement and sets. He attended their training program once in high school and loved it, but his instructors were strict about focusing only on ballet.

**Roman Price**  
30  
Height 6’2”  
Rank: Principal  
Joined the Civic Ballet in 2007; Promoted to Principal in 2016  
Favorite Role: Prince Siegfried- Swan Lake

_Appearance:_ Tall and muscular. Tanned skin and auburn hair pulled back in a short ponytail and shaggy bangs that he keeps partially pinned back. Warm brown eyes. Prefers form-fitting tops and shorts for full range of motion, but his go-to top is his lucky “prince” tank. 

_Personality:_ Haughty and boisterous. Has an ineffective filter and often finds himself in trouble for his sassy comments. He is a popular partner in class as he is strong and stable with complicated lifts, but the women who perform with him often complain that he outshines them with his over-the-top charisma that charms the audience and distracts from everything else (something Logan continuously chastises him for in rehearsal and Thomas gently reminds him of but ultimately lets him have his fun as he knows he sells seats). He has a soft spot for Virgil and knows to keep his volume in check around him, but like hell he’ll back down from a snark-war with his favorite broody companion.  
Despite the bravado, he questions his abilities and wonders just how long they’ll bother keeping him around. What use is there for traditional male, princely stereotypes in the dance world when all the stereotypes are being tossed aside in favor of new, contemporary ideas in ballet.

_Relationships:_  
W/ Virgil- His best friend whom he teases relentlessly (which Virgil, of course doesn’t take lying down). He took him under his wing when Virgil began and has worked with him over the years to boost his confidence. He enjoys choreographing little solos on him, calling Virgil is “emo guinea pig”.  
W/ Patton- They became fast friends when Roman caught him peeking in on one of his “practice sessions” with Virgil. He finds Patton’s energy and enthusiasm refreshing and a good foil for Virgil’s dark moods. As open as he can be around Patton, Roman wishes his bespectacled friend would be as open with him in return.  
W/ Logan- They butt heads. A lot. Logan finds him overstated and loud but respects his talent. Roman sees him a stick in the mud but finds himself constantly seeking his approval. His respect and admiration for Logan is incredibly strong.  
W/ Thomas- Despite his standing as his director, Roman considers him a friend outside of the studio. In rehearsal, Logan is often frustrated by how Thomas can get Roman to fall in line so easily. Roman appreciates that Thomas takes his suggestions and ideas seriously.  
W/ Dmitri- Oh, they get along famously! Such kind comments! (Roman has no flippin’ clue Dmitri is being facetious half the time). They are regular drinking buddies and know all of each other’s darkest, drunkest secrets which means neither can blackmail the other.  
W/ Remus- Brothers and creative rivals. Roman rose quickly through the company ranks, Remus rose higher in artistic notoriety for his daring and bold choreography. He will out-shine Remus.

_Backstory:_  
Roman and Remus grew up in a very theatrical household. As twins in childhood they were enrolled in everything from singing lessons to theater productions. Growing up, they were often cast as opposites in the same role, though Roman always took a more traditional and safe route with his portrayals. Similarly in ballet, they were stuck in the same classes and progressing at the same clip through the levels. When Youth American Grand Prix competition season came around in high school, they would purposefully enter into different categories, Roman into classical and Remus into contemporary though Roman always had an interest in the latter.

Eager to get out from his brother’s constant presence, Roman shipped off to Russia to train through his final two years of high school. Remus, alternatively, began studying choreography and eventually landed a scholarship to the Laban School in London (though Roman heard he quickly dropped out because they didn’t appreciate is “creative genius”).

Roman returned to the states at 18 and accepted his first contract with the Civic Ballet to stay closer to home and family (minus Remus, of course, who was off doing goodness knows what). He was peripherally aware of Remus’ success as a choreographer throughout the greater dance community and always envied his success. 

Roman experiments with choreography himself, first setting movement on himself and awkwardly filming it on his phone in selfie-mode. After a while, he quickly snatched up a young new dancer who had just the deep, emotional tone he was looking for to become “his muse”. Before Virgil came along, his work was usually critiqued for being too classical and derivative of existing tropes in ballet. His new partnership with Virgil gives his movement a sharper, darker edge that his work was missing. A part of him wants to out-do his brother, but he mostly wants to prove to himself and others that he is more than a princely principal prima.  
His dream is to fully choreograph and produce an evening length ballet. Patton is quite taken with this harebrained idea and has already been recruited by Roman to design the costumes while Virgil already fucking knows he’ll be stuck playing the lead. 

_Fun Facts:_  
-Roman still dabbles in theater from time to time and teaches at theater and dance camps in the summer during the off season.  
-He was certain it was his idea first to create a Swan Lake with an all-male cast of swans. Dmitri, unfortunately, broke it to him that Matthew Bourne beat him to it… by a number of years.  
-He secretly loves tap (but is absolutely awful at it). When he found out his personal hero, Stephen McRae of the Royal Ballet of London was also a talented tap dancers he was determined to fly to London and meet him. Due to money constraints (and the fear of running into Remus), he had to settle for following him on social media instead.  
-He has crown tattoo on his hip that he keeps covered. He only shows it to those who have “stolen the key to his heart” [Dmitri: or the key to his pants ;)]

**Patton Fair**  
30  
Wardrobe- Stitcher  
Joined Civic Ballet in 2014  
Favorite Ballet- Sleeping Beauty

_Appearance:_ Shorter (around 5’5”) and softer. Reddish brown curly hair and a spray of freckles. Round or oval wire-framed glasses over soft blue eyes. Comfortable tops and pants under a well-worn gray apron he made himself in highschool. He tries to remember to wear his favorite wrist-strapped pin cushion (for his safety and the safety of others).

_Personality:_ Warm and inviting. Relentlessly supportive and always the first to lend a listening ear or a shoulder to cry on. He is ALWAYS available for hugs (though watch out for stray pins and needles he keeps and then proceeds to forget about stuck in his clothes for “safe keeping”). When he is working he is uncharacteristically focused and very little can actually shake him from his “sewing trance”. Part of him always regrets not being physically able to dance, but allows himself to live vicariously through the dancers. He often chastises himself for being weak and fragile, but keeps a brave face and positive attitude through it all. The only two people to have ever seen Patton cry are Logan and Virgil. Patton opens up to them because he knows they are excellent listeners and never judge him for his moments of weakness. 

_Relationships:_  
W/ Virgil- Patton is very protective of his friend and cares deeply for him. He had to be dragged home to rest and eat while Virgil was in the hospital. Virgil and Logan are the only people he can fully open up to .  
W/ Roman- Patton admires his strength and drive. Watching Roman dance is one of his favorite things and believes he is capable of creating something amazing. He’s grateful for Roman’s attempts at breaking Virgil out of his shell, but wishes he would be a smidge more tactful about it.  
W/ Logan- Dear friends since university when his department designed the costumes for Logan’s senior capstone performance. They remained close and he even travelled to London to visit Logan on numerous occasions. Logan recommended Patton for a position in Wardrobe when the old stitcher retired.  
W/ Thomas- Has nothing but the utmost respect for Thomas and his vision for the company. Thomas has even found himself sitting on a vacant stool in wardrobe chatting with Patton about this or that.  
W/ Dmitri- He’s uncomfortable at best around Dmitri, but Roman is fond of him so he tries his best to connect with him.  
W/ Remus- He hardly agrees with his “creative” ideas for costuming, finding them over-the-top and lacking in taste. In production meetings, he has to physically hold his mouth shut as Remus walks through his ideas for their newest production. He forces himself to trust the artist and remain positive throughout the process.

_Backstory:_  
Patton began dancing at 5 years old after his mother took him to a production of Sleeping Beauty. He was so taken by the beautiful costumes and colorful characters, his mother practically had to hold him down into his seat for fear of him running right onto that stage. He continued his practice through middle school until he collapsed in class from shortness of breath. His doctor diagnosed him with asthma that was severe enough to make dancing a tricky prospect. 

He soon discovered a love of sewing and joined the theater club as their costume designer. He continued to develop his skills through high school and received a scholarship to a design program in New York. It was there that he met Logan, a stone-faced dance studies student. Because of Patton’s love of dance, he attended the dance department’s performances any time he could if he wasn’t already on the design crew. He particularly enjoyed watching his favorite talented technician perform.  
After graduation, though most of his work was in theater, his love of ballet remained strong and he was determined to learn the skills necessary to create the intricate costumes that dazzled him as a child. He picked up an apprenticeship with a local ballet troupe where he honed his tailoring skills that he was known for in college. 

But what he really wanted was to design and build tutus. 

When Logan returned to the States with a Job offer from Thomas Sanders of the Civic Ballet, Patton remained in touch and attended their shows when he could. Down the line, Thomas, himself, would call with an offer of a position in the wardrobe department at the strong recommendation of his friend who spoke highly of his talent.

His time with Civic was busy- they put his tailoring skills to the test, spending hours cutting patterns, fitting, sewing, ripping seams, and sewing again. Despite the hours he put in during the day, he remained in the workroom after close to work on his personal project- Swan Lake inspired tutus for Odette and Odile. He worked on them simultaneously, building up from yards of tulle and brocade. He enlisted a couple young dancers from the company to act as models to fit the bodices, but he mostly worked alone until Virgil caught him late one night. Virgil had stayed to practice through until close to 10pm. When he ventured down he found a light still on in the workroom. He wandered in to find Patton hunched over the delicate beadwork on the lace plate. After much convincing, he reluctantly showed Roman the next day and in a boisterous show of enthusiasm, declared Patton his costume designer for his own passion project.

Fun Facts:  
-Patton convinced Virgil to try on the Odile tutu despite his protest. Shockingly it fit quite well, but Virgil threatened Patton with a visit from Gerard on his pillow one night if he said anything to anyone.  
-He spent a summer designing and building puppets for a children’s theater. It didn’t pay much, but they taught him basic puppeteering and let him keep one of his creations as a souvenir.  
-He has Sunday dinner with Logan every week.  
-Patton loses his needles like nobody’s business. Logan gifted him a magnetic “pin cushion” for his wrist. It’s powder blue with a “P” embroidered with silver thread on the wrist band.

**Logan Croft**  
31  
Height: 5’11”  
Company Ballet Master and Repetiteur  
Joined the Civic Ballet in 2013  
Favorite Choreographer- Marius Petipa

_Appearance:_ Tall and slender. Sharper facial features and rectangular metal frames. Hair slicked back and out of the face. Crisp white shirts and black jazz pants. Wrist watch.

_Personality:_ Comes off as cold and calculating. Gets easily aggravated when the schedule is not being adhered to or corrections not taken. Logan is not much less tightly wound outside the studio, but Patton knows just what his soft spot is (which may or may not involve onesie-clad foreign-film movie nights and home cooked meals). He knows full well that his young age and high-ranking position puts him at risk of being disrespected by his older peers within the greater dance community. Because of this, he is a no nonsense kind of man and strives to be taken seriously.

_Relationships:_  
W/ Virgil- Logan is intrigued by him and his emotionally charged dancing. Because of his close bond with Patton, he has attempted to befriend Virgil but still falls short of fully earning his trust. He assumes this is because Virgil is too aware of Logan’s high position within the company dynamic, which they both highly respect.  
W/ Roman- He is loud and often forgets his station, but even Logan has to admit he is an asset to the company. Logan respects him as a talented artist, but feels the need to reign in his extreme personality if they’re ever going to get anything done.  
W/ Patton- His closest friend. Having known him since college, Logan has always felt a kinship with Patton though he simply doesn’t understand how someone so warm and kind could choose to spend so much of his time and energy on him. Patton does not like this line of thinking and will *affectionately* get angry at him for it.  
W/ Thomas- Though impatient with his occasional indecisiveness, he respects Thomas outright and will do anything to bring his vision to the stage.  
W/ Dmitri- Has some trust issues with him, largely over big-picture company decisions, but even Logan has to admit that Dmitri has the company and Thomas’ best interest at heart.  
W/ Remus- Finds his “contributions” uncouth and reckless, but he is duty bound to assist in putting his work on stage. He is courteous around Remus and keeps a professional detachment while working with him, but finds his outbursts and innuendo vexing.

_Backstory:_  
Logan took up dance as a child strictly as a means to get out of sports requirements in school. He was immediately taken by the mathematical precision of the music and technical intricacies of the movement. He tried to convince his parents to let him take piano lessons to better understand the correlation between the music and movement, but due to money constraints, he had to choose. 

He stuck with ballet and threw himself fully into the training to ensure he was getting the most out of what his parents were paying for his lessons. Through middle and high school, he committed his free time entirely to practice, jogging early in the morning before school, stretching during lunch, and releve exercises while doing homework. His schoolmates were fully aware of his interest in ballet and attempted repeatedly to bully him about it, but his emotional indifference rendered him mostly impenetrable. The bullies simply got bored and left him to it.

While researching for a history project on the subject of dance in King Louis XIV’s court, he discovered a whole new facet to ballet that he had not considered as a viable career option beyond performance- dance studies. People could actually go on to study dance in a scholarly capacity, even earning PhDs and lofty university positions. In his junior year, he began searching for schools that would allow him to continue his training while pursuing this new line of interest.  
He found himself at a New York conservatory, studying dance history and performance. Though he had little interest in the emotional aspect of performing, focusing more on technical skill, he found a keen interest in exploring the idea of restaging historical works. He memorized the Beauchamp-Feuillet notation and began to study the rudiments of Laban. His focus was entirely on his studies and training, leaving him little time or energy for interpersonal relationships.  
Until he met Patton. 

A bubbly midwestern costumer, Logan found himself drawn to his warmth. He, too, was taken by Patton’s eye for design and technical prowess in garment construction. Though he understood little of how friendships were supposed to work, Patton proved to be the first person to break through his icy exterior and actually make him laugh (and even cry once).  
After undergrad, he earned a scholarship to the Laban School in London where he earned his masters degree. Thomas, having attended his master’s thesis performance, offered him a position as repetiteur. Though not initially interested, Patton reminded him that this was a perfect jumping off point for his career and accepted Thomas’ offer.  
A year into his time with the Civic Ballet, he found he was having a difficult time connecting with this dancers (largely, he assumed, due to his age and demeanor). The dancers joke that he softened up considerably when Patton came on board (which Logan denies entirely). 

_Fun Facts:_  
-Yes, he has a unicorn onesie. Patton bought it for him. He loves it but will never admit it out loud. He only wears it around Patton.  
-The only time he cried in front of another person was when he received his acceptance to the Laban School. He was shocked that they would even accept him and simultaneously distraught that it would mean leaving Patton behind for three years while he pursued his own career in the States.  
-Logan hand-stitched the “P” on Patton’s wrist-banded pin cushion. It took him 12 tries to get it right.  
-He has a cat named Petipaw. He would have preferred the original spelling of Marius Petipa’s name, but Patton wouldn’t shut up until he begrudgingly acquiesced.

**Author's Note:**

> I hope to get to Thomas, Dmitri (Deceit), and Remus' character bios in the future. For now, I hope you enjoyed this mess of ideas!


End file.
